HX300 Summary

Boasting an incredible 50x optical zoom (24-1,200mm equivalent) reach, the all-in-one Sony HX300 showcases one of the most versatile built-in lenses we've ever tested. This bridge camera's relatively small 1/2.3-inch imaging sensor means its image quality won't rival the output of a DSLR or premium compact -- especially in low light -- but it's definitely capable of capturing photos few other cameras can. Packed with features including Full HD video at up to 60p in a comfortable, ergonomic body, this superzoom is ideal to take on any photo trip when you need to travel light.

Pros

Super-versatile 50x optical zoom lens helps you capture everything from wide-angle cityscapes to zoomed in portraits from what feels like a mile away; Still quite light and portable considering the powerful lens; Comfortable and ergonomic design; Full HD video recording at up to 60p, with good quality.

Cons

Relatively small, 1/2.3-inch CMOS sensor delivers average image quality that degrades quickly at high sensitivities; Images not as sharp or as bright at full telephoto as we had hoped; Slow camera to use overall.

Price and availability

The Sony Cyber-shot DSC-HX300 started shipping in March 2013. With a list price of US$500, the HX300 currently retails for around US$430. It is available in only one color: black.

Sony HX300 Review

If you're not worried about extending yourself too far -- or bringing the
action too close -- the Sony DSC-HX300 could be the all-in-one, superzoom
camera for you. Featuring a 50x optical zoom, the Sony HX300 supplants the
HX200V (and what now seems like its relatively paltry 30x optical zoom) in the
manufacturer's bridge camera lineup.

The HX300's Carl Zeiss Vario-Sonnar T*
lens boasts an equivalent focal range of 24-1,200mm (with a maximum aperture of
f/2.8 to f/6.3 across the zoom range), combined with a new Sony 20.4-megapixel, 1/2.3-inch
Exmor R CMOS sensor designed to deliver high resolution images, even from afar.

The zoom range of the HX300 gets outright ridiculous when you factor in its 2x "Clear Image" digital zoom, which combines with the lens for an up-to 100x reach. Add in the standard digital zoom, and you'll get all the way to 200x combined zoom, albeit with a significant degradation in image quality.

Like the HX200V, the new Sony HX300 features a DSLR-like look and feel,
without the hassle -- and weight -- of interchangeable lenses. But, as
expected, there are some serious image quality compromises with choosing a
bridge camera over a DSLR. However, Sony has tried to "bridge" that gap as much as
it can with the HX300.

The company claims the Sony HX300 features a first among its Cyber-shot
cameras: a new generation of Sony's Optical SteadyShot system that delivers
nearly twice as powerful optical image stabilization as its predecessor. The improved OIS is especially helpful at the telephoto end of the range, making distant framing and
composition much easier, and it's achieved courtesy of a second zoom group of lens elements. Sony has also improved low-light performance, and
says the HX300's sensor and processor work together to double the autofocus
speed over the HX200V in an attempt to equip photographers with a more
responsive, more powerful superzoom camera experience.

The Sony HX300 also features a newly designed ergonomic grip, and a diverse
collection of controls, including a manual ring, custom button, jog dial and
Memory Recall mode. There's a tilting, 3-inch, 921K-dot LCD monitor and a
Multi-Terminal to communicate between the HX300 and compatible accessories. And
a better Lithium-ion battery now extends life to 310 shots on a single
charge.

Other performance enhancements include high sensitivity shooting at up to ISO 12,800
with the help of Sony's "By Pixel Super Resolution" upsample algorithm and
multi-shot overlay. For standard images, the HX300's sensitivity tops out at ISO 3200. The camera is also capable 10
frames-per-second full-resolution burst shooting, as well as Full HD (1080p)
video recording. The Sony HX300 comes with a new generation of Superior
Auto Mode that automatically selects the proper settings to make composition
and exposure easier, as well as Picture Effects ranging from Toy Camera to
Partial Color. And, like many Cyber-shots, the HX300 lets you take 360-degree
panorama shots.

Those are some pretty nice-sounding upgrades in a relatively compact,
all-in-one superzoom camera designed for those who don't want the muss and fuss
of interchangeable lenses. Let's take a closer look at the Sony HX300,
and see if it's not only a worthy successor to it's superzoom predecessor,
but worth investing in for all your picture-taking needs.

Look and feel. The Sony HX300 doesn't look markedly
different than its predecessor, and that's a good thing. Sony has done a nice job
of matching the curving, ergonomic design of its higher-end, SLR-style Translucent Mirror
interchangeable lens cameras to its all-in-one superzoom models, and the HX300 is
the latest evolution of this style. Hard core DSLR users might find the
multi-tasking Sony HX300 a bit quaint -- or even dated -- but casual travel
photographers who want to lighten the load will appreciate its sculpted,
do-everything, joie de vivre.

The Sony HX300 has dimensions of 5.1 x 3.7 x 4.1 inches (130 x 93 x 103mm)
and weighs 22.9 ounces (650g) with its rechargeable battery installed.
It's slightly bigger and heavier than the previous model in this line, but still
smaller and lighter than most DSLRs. (Though it's worth noting that Canon's
super-tiny SL1 SLR is slightly more petite and less than an ounce lighter than
the HX300, but of course that's without a lens.)

The design and size of the Sony HX300 (right) is very similar to that of other Sony entry-level cameras like the Sony A58 (left) and Sony A3000 (middle).

The Sony HX300 looks very similar to the company's entry-level DSLRs. In
particular, it closely resembles the Sony A58, which replaced both the A37 and
A57 as an introductory DSLR for beginners. The HX300 is also in the A58's price
range, retailing for $100 less than that interchangeable-lens-based camera. So
why wouldn't entry-level photographers just go with the DSLR? The main
reason, of course, is that with the HX300, you get the whopping 50x zoom built-in lens.
The A58, on the other hand, comes with a standard 18-55mm, 3x zoom kit lens.
(Optical quality, however, is not quite equal, which I'll discuss later.)

When the Sony HX300 is powered down, the 50x zoom's barrel protrudes from
the camera body about two inches. Power it on though, via the On/Off button on
top, and the built-in zoom extends to about three inches, giving you the 24mm
equivalent wide lens setting. Zoom it all the way out to 50x (1,200mm
equivalent), and the lens telescopes to about 4.5 inches. These are all
slightly longer than its predecessor, but the HX300 does have two-thirds more zoom reach. Also, compared to what a
1,200mm lens for a large-sensor camera looks like (these über-telephotos are rare to see in the wild, but
they are impressive), the Sony HX300 is practically a munchkin, even when at full
zoom.

On its front, you'll see the Sony HX300's
rubberized grip, which has a textured feel resembling leather. This molded, ergonomic grip is similar to the one on the previous model, with an
indentation for your middle finger. On the whole, it's quite comfortable, even
for someone with big hands such as yours truly. Overall, the fit and feel is
very much like that of a DSLR.

Looking down from the top of the camera, you'll see the Sony HX300's stereo
microphone behind the pop-up flash. One of the biggest design differences
between the HX300 and Sony's DSLR is the small left shoulder of the camera,
which has no buttons, dials, or switches. There's just the model name, and some
markings to indicate that the camera records HD video with AVCHD Progressive compression. Unlike
the previous model, which had a built-in GPS receiver with which to geotag images, Sony has dropped
that feature from HX300 and, consequently, the satellite logo has been stricken
from the left shoulder of the camera

The larger right shoulder of the Sony HX300 is where all action is, with
the camera's main controls, including the Mode dial, residing there. The
polycarbonate top piece is flatter than on the previous camera -- which
featured a raised area for the controls -- making it easier to slide your
finger down to the shutter button. The oval shaped On/Off button has been moved
towards the middle of the camera where the housing starts to curve up toward
the electronic viewfinder and the pop-up flash. This is, presumably, to prevent
your accidentally hitting the On/Off button with your finger while shooting. Under
the On/Off button is a button that lets you switch between using the viewfinder
and the LCD for viewing images in playback and menus, and in Record mode.

In front of the Mode dial on top of the handgrip are a pair of buttons. One
selects the Focus mode (Multi AF, Center AF, or Flexible Spot AF) if you simultaneously
turn the jog dial on back of the camera; the other is a programmable Custom button which defaults to exposure lock. On top of the front of the handgrip is a black,
matte Shutter button surrounded by the zoom ring, both of which are more raised
-- but slightly smaller -- than in the previous camera.

LCD monitor. The rear of the Sony HX300 is dominated by the 3-inch,
fold-out LCD screen, which stands proud a quarter-inch when retracted against the
camera body. It's a nice screen for framing and reviewing shots, offering
921,600 dots of resolution (307,200 pixels), but it hasn't been upgraded from
the previous camera. The LCD is not a full, side-swiveling flip-out screen,
which would have been a nice addition. Instead, as with the previous
camera, you can pull the screen out and tilt it up or down, which helps when
composing over the head or down low shots. As before, the HX300's LCD is not touch-sensitive.

The Sony HX300 doesn't have an optical viewfinder but, if you're more
comfortable with putting your face to the camera when composing shots, does feature a small, 0.2-inch electronic viewfinder with 201,600 dots of resolution.
While it's not as sharp or as detailed as the LCD screen, the EVF is a good
alternative when you don't want to frame your shots at arm's length, or are
shooting in bright light and can't see the rear screen. Again, the EVF is
pretty much the same as the one on the HX300's predecessor. However, unlike that the
previous model, the HX300 doesn't include a proximity sensor to automatically
turn on the EVF when you put your eye there. (This feature didn't work very
well in the HX300's predecessor anyway, but it was still nice to have it as an option.)

Above the rear LCD screen is the one-touch Record button for video
capture. The Playback button has, wisely, been moved further below the
Movie button, so you don't accidentally press it when you want to start
shooting movies. To the right, under the Mode dial, is the Jog wheel. You
can also press this in, so that it functions as a button as well, which I find a bit odd. Below that is the
Four-way Control pad, which lets you adjust the display, flash, timer, burst
shooting and other features.

At the very bottom of the back of the camera are the Menu and
Delete buttons. The latter doubles as the In-Camera Guide button when the Sony HX300
is in shooting mode.

50x optical zoom lens. The most newsworthy thing about the Sony HX300 is, of
course, its 50x optical zoom lens. The lens carries Carl Zeiss Vario-Sonnar T*
branding, and the camera sports a "50X Optical Zoom" sticker on the pop-up flash
above the lens barrel to advertise its skills. If you're impressed by numbers,
this mighty optic has them in spades. Its 35mm equivalent range ranges from a very handy
24mm wide-angle to an astronomical 1,200mm telephoto. Maximum aperture,
however, falls from f/2.8 at wide angle to a rather dim f/6.3 at telephoto, so
avoiding blur from camera shake at the maximum telephoto in tough lighting will prove tricky, even with
Sony's Optical SteadyShot image stabilization.

Sony says the HX300 has "new and improved" autofocus speeds at the telephoto
settings, and locks in on subjects "twice as fast" as the previous camera,
the HX200V. The HX300's predecessor was not particularly swift, so this is good
to hear. We'll address whether the HX300 lives up to that autofocus speed
billing in the shooter's report below.

Sensor. The Sony HX300 offers a slight uptick in resolution
from the previous camera, sporting a 20.4-megapixel (effective), 1/2.3-inch
Exmor R CMOS sensor. While the HX300's resolution is on par with what you'd get
from many entry-level DSLRs, there's no getting around how small the chip is. With a diagonal of just 7.76 millimeters, it's the same size used in many point-and-shoot cameras.
The HX300's imager is, however, a BSI chip with more of its surface area
devoted to light gathering. (The chip's circuitry has been moved below the
active layer of the sensor, so it doesn't block the incoming light.)

Even with the smaller chip, the Sony HX300's ISO range is similar to that of a
DSLR: ISO 80 to 12,800. When shooting above ISO 3200, though, the HX300 enters
its "extended ISO" setting, where several images are automatically shot in
succession at a low resolution and then combined while being interpolated.

Storage, battery and interface. Images and movies are stored in 48MB
of built-in memory, or on SD / Memory Stick Duo cards. Supported SD cards
include SDHC and SDXC types, while Memory Stick Duo compatibility includes PRO
Duo and PRO HG Duo types, as well as Micro and Micro Mark 2 cards with an
adapter.

Power comes courtesy of a proprietary NP-FH50 InfoLithium rechargeable
battery pack, rated as good for 310 shots per charge using the LCD monitor, and 400 shots per charge using the EVF.

Connectivity to external devices is fairly limited with the HX300, as it lacks more advanced features like Wi-Fi or NFC wireless communications. It does have a Micro HDMI port and a multi-function mini-USB port for both AV output and computer connectivity via USB 2.0.

Shooting with the Sony HX300

by Dan Havlik

As someone who gets to test a lot of high-end gear, including many
professional digital SLRs and lenses, I tend to be snobbish towards cameras
like the 20.4-megapixel, 50x optical zoom Sony HX300. But a lot of us forget that
despite the popularity of interchangeable-lens camera systems -- including all
the mirrorless compact system cameras continuing to flood the market --
all-in-one, superzoom "bridge" cameras are still a highly attractive option for
novice photographers. And why shouldn't they be? With versatile, incredibly
long zooms and a bevy of features, fully-loaded superzooms like the HX300 are
handy image-making tools for travelers and tourists alike.

I found that out last year, when I took the HX300's predecessor, the 18.2-megapixel, 30x optical zoom HX200V on a trip to Berlin, Germany. While I didn't like everything
about the HX200V -- its image quality wasn't always up to snuff in challenging
situations -- it allowed me to travel with one camera and no additional
lenses, yet still get plenty of great shots in a variety of locations and
scenes in Berlin.

Aside from the jump from a 30x to a 50x zoom (which is a significant boost),
the Sony HX300 offers only a few other upgrades from the previous model. In
a few areas, it actually takes away a few features that were on the older camera.
That HX300's larger zoom also makes the camera slightly larger and heavier, and
bumps the price up just a bit, with this new model retailing for $500 list. Is a
bigger bridge camera with a more powerful zoom, worth your time, money, and
consideration? Let's take a look at this new superzoom champ from Sony.

In the hand. As we already stated in the earlier walkaround
section, the Sony HX300 looks
and feels a lot like Sony's entry-level DSLRs. At the same time, however, it's
a little less serious than those models -- which makes sense, given its more
consumer-focused audience. Maybe it's the HX300's almost completely curved
design, which, aside from the rectangle inset of the 3-inch, fold-out LCD
screen, has no right angles. Or maybe it's the slight, lower-slung electronic
viewfinder on top of the camera, which gives the HX300 a more modern
appearance. Either way, this Sony flagship superzoom may seem advanced with
all its features, but it looks and feels accessible and unintimidating. This
should appeal to novice users.

The Sony HX300's textured, rubber handgrip is robust, boasting an ergonomic
design with indentations for your middle and third fingers. My hand fit
comfortably around it. As opposed to some mirrorless, compact system cameras
I've tried, which always seem ready to fly out of your hand, the Sony HX300
felt more like an extension of my hand. It is, however, fairly heavy, weighing
about 23 ounces,. That's heftier than the previous model, and comparable in
weight to some entry-level DSLR bodies, if you ignore their lack of a lens. Even when it's retracted, the HX300's 50x lens
juts out a few inches from the camera body, presenting a bigger package than
many CSCs. And, of course, when you zoom the HX300's lens out to its full
1,200mm-equivalent setting, this superzoom becomes a bit of a beast.

I wasn't able to stash the Sony HX300 into a coat pocket -- it was too big
and bulky -- but it fit easily into a small camera bag and seemed ideal for
travelling. (And considering how much is packed into this superzoom, it beats
carrying around a camera body and a collection of lenses, all image quality
concerns aside.)

One slight annoyance that struck me about using the HX300 out
in the field -- and I had a similar issue with the HX200 before it -- is that the
camera has a bit of a rattle when you move it around, making it feel less solid
than a DSLR.

Controls. Since the Sony HX300 is aimed, primarily, at less
experienced photographers, controls are pretty basic, and for the most part
logical. We've detailed where everything is on this camera in the walkaround section above; now let's address the usability of
the camera's knobs, switches, dials and whirligigs.

In short, everything works
as it's supposed to, albeit with a few quirks. I liked the slightly more raised Shutter button with the surrounding Zoom
ring of the Sony HX300, but it still felt mushy. It's similar to the difference between the vague steering
you find on most cars these days, and the tighter, more tuned control on sportier
models. While the black matte shutter is more attractive than the glossy, shiny
metal on the previous camera, it still seemed on the cheap side, as did the
plastic zoom ring around it. Otherwise, the polycarbonate top deck of the HX300
and the four slightly recessed buttons looked spiffy, and stayed out of my way
when I didn't need them. The raised, knurled Mode dial was also pretty snazzy,
and had a nice Goldilocks quality to it: not too tight to turn and not too
loose, preventing accidental changes.

The button layout on the rear of the Sony HX300V (right) underwent only minor changes compared to the previous model, the HX200V (left). The Movie record button has been moved slightly farther away from the thumb-rest area.

On the back of the Sony HX300, the red Movie button was in an easy-to-see, easy-to-access location next to the electronic viewfinder and near the top of
the camera. It's far enough out of the way of the thumb rest so that I
didn't hit it by mistake. (That had happened to me a few times with the previous
model, to my chagrin.)

What's most confounding about the controls of the Sony HX300, as was the
case with its predecessor, is the multi-functionality of the plastic Jog
wheel on back of the camera. If you didn't read the Sony HX300's manual, you
might not know that the wheel, which sits on top of the rear thumb rest below
the mode dial, doubles as a button. You can use it to change basic settings
such as ISO sensitivity, shutter speed and aperture. To change sensitivity, for instance, you have
to keep pressing the jog dial in until the sought-after setting lights up in
yellow on the rear LCD, which allows you to adjust the ISO by turning the dial.
The same system is used for aperture, shutter speed and exposure compensation.
This setup may be common on Sony's superzoom cameras, but I doubt most folks
will be able to figure it out on their own.

Otherwise, the rest of the Sony HX300's rear controls were pretty
straightforward, if small and sparse. Would it have killed Sony to have put a
dedicated ISO button on the back of the camera, though, rather than making photographers tap
that infernal jog dial?

LCD screen and EVF in use. The 3-inch, fold-out LCD screen
on back of the Sony HX300 is the same as that of the previous model, and
while it's a very good display, it would've been nice if it had been upgraded.
As it is, the screen had ample resolution (921,000 dots) for previewing and
reviewing my shots. As with many LCDs, it can be hard to see
in outdoor light. I shot with the HX300 extensively in bright, summer light
while using the camera during Summer Streets in New York City. For those not familiar with the event, during Summer Streets
on
Saturdays in August, nearly seven miles of NYC's streets are shut down to car traffic, and pedestrians are free to walk, run, or bike on the
roads. It's a fun event, and the HX300 proved to be a handy companion.

Big crowds lined the Summer Streets route and dancers, musicians and
performers held demonstrations to entertain the crowd along the way. Though I'm
a tall guy, it was nice having the fold-out LCD screen, which allowed me to
hold the Sony HX300 over my head, and compose shots over the crowds of people. In particular
it helped me get some good photos and video of a jump rope crew performing. A
side-swiveling screen would have been even better for composing shots from
difficult angles -- and for selfies! -- and it would have been a nice upgrade
to set the HX300 above its predecessor. (However, it might also have added
significantly to the price, which could explain why it wasn't added.)

The Sony HX300's electronic viewfinder, which is based around a 0.2-inch LCD panel, also hasn't been upgraded from
the older camera. That's even more of a shame, as I found it very
cramped -- I had to squint to see through it -- and the 201,600 dots of
resolution weren't enough to create a sharp, live preview. While shooting in
the bright light of Summer Streets, it helped me compose shots in pinch when
the rear LCD completely washed out, as it often did. But it wasn't ideal.

Also, as mentioned earlier, the Sony HX300's viewfinder does not have an eye
detection function. Instead you have to hit a button on top of the camera to turn the
EVF on. While the auto EVF feature on the previous camera was pretty
lousy -- I remember it being glacially slow to engage, which caused me to miss
some shots -- it would have been nice at least to have it as an option on the HX300,
especially if Sony could have made it work quicker.

Superzoom lens and autofocus. The Sony HX300's key feature
is, of course, its impressive 50x, 24-1,200mm equivalent (in 35mm format)
superzoom lens. And it proved valuable for capturing photos I could not have
possibly shot otherwise. (Unless, of course, I had a 1,200mm telephoto for my large-sensor camera, which I
do not.) As part of the Summer Streets celebration, organizers had set up an
urban zip line in Foley Square in front of the 1933-built U.S. Courthouse. With
the HX300's wide zoom range, I was able to photograph a wide-angle scene setter
showing the zip line apparatus in front of the classic courthouse, and then a
zoomed-in shot to capture the excited faces of people riding the zip line. This
also worked great when zooming for some action video footage of the zip
line.

Wide-angle @ 24mm

Mid-tele @ ~240mm

Other great photo opportunities the Sony HX300's megazoom generated for me included a
shot I captured of a group of pigeons standing on top of an extremely dirty
traffic light in New York City. Not only was I able to isolate the birds and
the light for a close-up composition, the compression the long zoom created
isolated the foreground and flattened the background to add drama to the photo.
My traffic light image, which I dubbed "New York Grime," ended up being voted
one of the most popular of the day on photo-sharing site, 500px.

The Sony's HX300's long zoom also came in handy when I played local
paparazzi right from my office window. Actor Ron Perlman grew up in the
New York City neighborhood where my home office is, and I've seen him from
time to time shopping at the local bakery and supermarket. (If you don't know
Perlman, he plays Clay Morrow in the TV series "Sons of Anarchy," and has
starred in many movies, including Blade II, and as the title comic book
character in Hellboy and Hellboy II: The Golden Army.)

One day, while looking
out my office window, I spied Perlman sitting on a sidewalk stoop with his dog.
Thanks to the HX300's zoom and tilting LCD screen, I was able to hold the
camera over my head while sitting at my desk, zoom in to get Perlman in the
frame, and snap a few photos. Very cool and completely inconspicuous.

While the Sony HX300's generous 24-1,200mm optical zoom range is handy for a
range of shooting situations, you do sacrifice on the aperture when you zoom
in. At the widest angle, you can shoot at f/2.8, which comes in handy in mixed
lighting situations. And since the HX300, like its predecessor, is a mediocre
performer at higher sensitivities -- more about that below -- you'll find yourself trying
to shoot at that f/2.8 aperture as much as possible. On the other hand, maximum
aperture when you zoom all the way out to 50x is just f/6.3, making the Sony
HX300 a poor performer in low light at the full telephoto position.

The Sony HX300's autofocus speeds were a bit better than its predecessor, which was on the slow side. Sony says the HX300's sensor and processor work together to provide the extra bump in focusing speed. In our testing, the HX300 averaged about 0.38 of a second to lock in focus when shooting at the wide angle, and 0.13 second at telephoto. That's about average at wide angle, but very fast at telephoto for a superzoom camera. If you've shot with a DSLR before, though, you'll find the HX300 to be a step slow.

The HX300 features a new version of Sony's Optical SteadyShot system, which
the company says is twice as powerful as that of its predecessor. The new OIS now
performs better at the telephoto end, and I found it largely
did a good job. When zoomed all the way out to 50x (which, you have to keep
reminding yourself translates to 1,200mm!), the OIS kept the image relatively
steady, though the Live View does tend to swim around on the rear LCD screen.
That's not surprising considering how tightly it's framed, but if you find this
distracts your framing of images, I'd suggest using the EVF for 50x shots.
Thanks to Optical SteadyShot, my images had very little motion blur, and that's
impressive considering how much reach the HX300's superzoom lens offers. While
Optical SteadyShot is quite powerful, there's
no way to turn it off on the HX300 if, for instance, you want to shoot with the
camera mounted on a tripod.

Operational performance. Along with the modest
focusing speeds, the Sony HX300 is a slow camera to use all around. The HX300
averaged 2.4 seconds to power on and get to first shot, which is actually
slower than its predecessor by about .2 of a second. Considering that the
HX300's zoom lens is longer physically -- and by focal length -- that's not
unexpected. But if you're in a hurry to fire off a shot quickly, this is not
the camera for you.

Shot to shot, the Sony HX300 was about average for the class. I
averaged cycle times of about 1 to 1.5 seconds, when shooting Large/Fine
JPEG images using a SanDisk Ultra 8GB 30MB/s SD card. While that's not, in
itself, terribly sluggish, the camera's rear display and/or EVF blacks out
between shots, and it can feel like a lifetime not to see your subject if
you're trying to capture a series of candid shots. (See further below for our lab performance results, which uses a faster 8GB 95MB/s SD card.)

The Sony HX300 does offer rapid-fire, 10 frames-per-second full-resolution
burst shooting mode, but after you fire off a round of 10 shots, the camera takes a
couple of seconds to store them before you can shoot again. This makes the
burst function less useful for tracking and capturing fast action sports,
which is a pity because the long zoom helps you isolate players from a
distance. Anyone who has used a DSLR with a bigger buffer that lets you keep
on shooting will find the Sony HX300 to be frustrating. And, if sports
photography is your thing, you should probably invest in a DSLR.

The HX300 menus feel sluggish and involve lots of scrolling through options.

I've always found Sony's menu systems on its consumer cameras to be
confusing and out-of-date, and it's the same case with the HX300. Checking
settings is a slow process -- scrolling through options and modes was sluggish
and buttons were not quick to respond -- and the set-up, mentioned earlier, of
having the HX300's jog dial on back of the camera serve as a button, was also
painfully slow to use.

Image quality. Like it's predecessor, the Sony HX300
captures nice images in good light at low ISOs but it fairs poorly in mixed or
dim lighting at higher ISOs. With the previous model, we felt that 18.2-megapixels was
too much resolution for a camera with such a small sensor, resulting in images
that were quite noisy, even at base ISOs. The Sony HX300 uses the same sized,
1/2.3-inch-type CMOS image sensor as its predecessor -- equivalent in size to what's
in small, point-and-shoot cameras -- but cranks the resolution up even further,
meaning smaller individual pixels and image quality that is further
degraded.

Don't get me wrong: I took a few photos with the Sony HX300, which were
among my favorites of the year, such the traffic light image and some of the
shots from Summer Streets. But these choice shots were thanks to the camera's
wide zoom range offering me so many compositional options. When I zoomed in on
some of my HX300 images, particularly those at ISO 800 and above, detail
looked smeared. This was especially true in my zoomed-in shots, which had a
noticeable softness all around, coming from a combination of a lens that was
not particularly sharp at full tele, and the small image sensor that didn't
capture images with much crispness. Skin tones also looked oversaturated,
pink-ish, and not very natural looking.

ISO 100

ISO 1600

Though the Sony HX300 can shoot above ISO 3200, it does so by firing off
several images at once, which are then combined into one. The noise has been
tamped down somewhat in the HX300's extended ISO settings, but images captured
at ISO 6400 and especially at ISO 12,800 had detail that was extremely smeared and
blotchy, making photos at this level look like surreal paintings.

Of course, I'm being a bit hard on the Sony HX300's image quality. Like I
said, it offers many tools for capturing great photos -- the megazoom alone is
worth the camera's pricetag -- so there will be, of course, some trade-offs. At
lower ISOs in good lighting, the Sony HX300's images were fine and color looked
accurate and snappy. This isn't the camera, however, that I'd turn to for any
challenging shooting conditions. In addition to its poor low-light
performance, dynamic range was only so-so. As evidence, look at the shots of
the jump-rope team in my Sony HX300 gallery, where there is very little discernable detail in the
performers' black leggings.

Video Quality. The Sony HX300 is a fine, all-in-one video
camera, with its wide zoom range making it quite versatile for a number of
shooting situations. Like the previous model, the HX300 captures Full HD (1080p)
video at 60p or 60i with stereo sound, using AVCHD compression. If you want to shoot
movies in MPEG4 (MP4), which I find more flexible, you can choose that format,
but recording is only available at 30p.

The Sony HX300's video quality ran parallel to its still image quality, good
in decent light but somewhat noisy under tougher conditions. (Though, I have to
admit, I'm more forgiving with noise in video footage than for still photos.)
For most photographers who are just starting to explore shooting in HD, the
HX300 is a good introductory video camera, with its long zoom lens a great tool
for getting a range of footage. While shooting video of a band playing ragtime
music as it walked through a crowd during Summers Streets, I was easily able to
track the action in wide-angle, and then silently zoom in on members of
the crowd as the musicians passed them.

Also, there was very little of the wobbly "rolling shutter" we see from some cameras with the Sony
HX300, when I panned quickly while capturing footage of someone riding down the
zip line. I primarily shot in MPEG-4 at 30p, which presents some challenges for
very fast action. For instance, while shooting video of the jump rope crew
doing some twin-rope "double dutch" maneuvers, the footage I captured of the
fast-moving ropes looked laggy, with some artifacting. On the other hand, the
Sony HX300's Active SteadyShot movie stabilizer did a good job of keeping my
HD footage steady, even when zoomed in with the telephoto.

Summary. As
far as superzoom "bridge" cameras go, you can't get much more zoom reach than you do from the Sony
HX300. While the HX300's image quality sometimes disappointed me, especially
when shooting at higher sensitivities, it's hard to argue with the versatility offered
by a camera that boasts a 24-1,200mm equivalent zoom, weighs less than 23
ounces, and has a list price of just US$500 (with a somewhat cheaper street price of around US$429 as of November 2013.) If you're looking for a great, all-in-one megazoom to take on your
next trip, you can't do much better than the Sony HX300.

Sony HX300 Review -- Image Quality

Below are a selection of crops comparing the Sony HX300 with the Sony HX200V and Canon SX50 HS.

NOTE: These images are best quality JPEGs straight out of the camera, at default settings including noise reduction.

Sony HX300 versus Sony HX200V at Base ISO

Sony HX300 at ISO 80

Sony HX200V at ISO 100

At base ISO, both the HX300 and its predecessor look very similar in both detail and color. The mosaic crop from the HX300 looks ever-so-slightly better than the HX200V as does the fabric crop. The default level of noise reduction looks to be pretty heavy even at base ISO on both cameras, as it's noticeable in shadows and smooth surfaces in the bottle crops.

Sony HX300 versus Canon SX50 HS at ISO 80

Sony HX300 at ISO 80

Canon SX50 HS at ISO 80

The battle of the 50x superzooms! Both cameras have a similarly-sized 1/2.3" sensor, but the SX50 has far fewer megapixels at 12.1, versus the HX300's 20.4. The HX300 does better with fine detail, although the SX50 still does well here. The Canon does better in the red fabric, however, while the Sony does better with the pink.

Sony HX300 versus Sony HX200V at ISO 1600

Sony HX300 at ISO 1600

Sony HX200V at ISO 1600

At the higher ISO levels, the smaller sensors of these compact cameras really show their weakness. The HX300's colors look more pleasing versus the older model as well as being very slightly less noisy in the shadows. Both cameras struggle to pull almost any fine detail out of the mosaic or fabric crops.

Sony HX300 versus Canon SX50 HS at ISO 1600

Sony HX300 at ISO 1600

Canon SX50 HS at ISO 1600

The Canon SX50 seems to handle the higher ISO sensitivity better than the Sony HX300, as seen in the bottle crops at the top. Like the previous comparison, these two cameras struggle with fine detail at this ISO level.

Sony HX300 Lens Quality

Zoom Series: The Sony HX300's lens is fairly fast at the widest end, with a maximum aperture of f/2.8, but then falls to a maximum f/6.3 at full tele, covering a 50x optical zoom range equivalent to a 24-1,200mm zoom on a 35mm camera. Images at wider angle look a bit sharper than those at the telephoto end of the 50x optical zoom range. Sony implements two types of digital zoom: a standard digital zoom and their "Clear Image Zoom." The Clear Image Zoom provides 2x zoom, and uses pattern matching to retain the same pixel count. Regular digital zoom does much the same, but without the benefit of pattern matching, and so it's softer. By combining both digital zoom options with the 50x optical zoom, the HX300 is capable of an overall 200x zoom, and we were surprised at the detail captured with this extreme telephoto reach.

Here's how aperture varies with focal length, according to what the camera itself reports:

Focal Length (eq.)

24mm

50mm

85mm

135mm

200mm

300mm

400mm

600mm

1,200mm

Max. aperture

f/2.8

f/3.2

f/4.0

f/4.5

f/5.0

f/5.6

f/6.3

Min. aperture

f/8 at all focal lengths

Wide-angle @ 24mm, f/2.8

50x optical zoom

200x zoom - 50x optical + Clear Image Zoom and Digital Zoom enabled.

Wide f/2.8: Sharp at center

Wide f/2.8: Soft, and showing some CA at upper left

Tele f/6.3: Slightly softer than wide angle in the center

Tele f/6.3: Much softer upper left, but less CA than wide-angle corners

Sharpness: The Sony HX300's zoom shows a fair amount of blurring in the corners of the frame compared to the center at maximum aperture. At the tele end, it becomes softer in the center than at the wide end.

Wide: Slight barrel (top) and pincushion (bottom) distortion

Mid-Tele (~477mm eq.): No distortion

Full-Tele (1,200mm eq.): Almost no distortion

Geometric Distortion: There is only a slight amount of asymmetrical distortion at the Sony HX300's wide-angle end (~0.4% barrel at the top, ~0.4% pincushion at the bottom), but once it's zoomed to mid-tele and on to full telephoto, distortion is practically non-existent.

Wide f/2.8:
Moderately low

Mid-Tele f/5.6:
Moderately low

Tele f/6.3:
Fairly low

Chromatic Aberration: Chromatic aberration throughout the zoom range on the Sony HX300 is fairly well-controlled. While there is ever so slightly more in the corners at the wide end, there is practically none once it's zoomed to full tele.

Macro

Macro with Flash

Macro: The Sony HX300 doesn't have a dedicated macro mode, but it does focus down to as close as 0.4 inches (1cm) at the wide end. In fact, in Intelligent Auto mode, the camera will detect close focusing and call it "Macro" mode. The 0.4-inch minimum focusing distance allows for very close shots that are very detailed in the center, with a little distortion and some blurring in the corners. Minimum coverage area is 1.65 x 1.24 inches (42 x 32mm), which is much smaller than average. The camera's flash is almost entirely blocked by the large lens at this range, resulting in a strong shadow across the frame. Thus, external lighting will be your best bet when shooting this close.

Sony HX300 Performance

Startup Time: The Sony HX300 takes about 2.4 seconds to power on and take a shot. That's a little slower than average for its class.

Shutter Lag: Full autofocus shutter lag is about average for a long-zoom at 0.37 second at wide angle, and very fast at telephoto at 0.13 second. Prefocused shutter lag is 0.011 second, which is very quick.

Sony HX300 Print Quality

ISO 80/100 produces good 16 x 20 prints when viewed from a normal distance, with a nice amount of fine detail and pleasing colors. There are visible noise reduction artifacts however, especially in the shadows and on smoother, background areas. This seems odd for such a low ISO sensitivity, but the default level of noise reduction appears to be quite strong. Up close, a 20 x 30 inch print would be acceptable for wall display, but any print size larger appears a little on the soft side.

ISO 200 images look good up to 13 x 19 inches. The prints are ever-so-slightly noisier and less detailed than the lower sensitivity levels, but overall at this print size it's not very noticeable.

ISO 400 allows for prints up to 11 x 14 inches, although that's a difficult call, as the prints are right on the cusp of being a bit too soft and lacking in fine detail. However, the colors look good, and from a comfortable arms-length viewing distance, prints of this size still look pleasing.

ISO 800 images look good at 8 x 10 inches. It's here that the smaller 1/2.3-inch type sensor starts to struggle with fine detail and noise. The high ISO noise is noticeable in the shadows, and is really noticeable in larger print sizes.

ISO 1600 makes an acceptable 5 x 7 inch print, but fine detail is pretty sparse and noise is definitely an issue, preventing us from calling anything larger OK. The colors, however, looks decent for this sensitivity given the camera's smaller sensor.

ISO 3200/6400 prints definitely show image quality degradation from the high sensitivity and noise reduction taking its toll on fine detail, but a 4 x 6 inch print looks acceptable. For ISO 3200, a 5 x 7 might be acceptable for less critical applications, but it's a bit too soft for us to call it at that size.

ISO 12,800 does not yield good prints, and is best avoided.

The Sony HX300 is a pretty solid performer for a small-sensor, superzoom camera. It displays typical results for prints compared to other superzoom cameras, producing good 16 x 20-inch prints at low ISOs, and a usable 4 x 6 at ISO 3200 and 6400. At prints sizes of 8 x 10 or smaller, the HX300 does a nice job with good fine detail and pleasing colors (though we did see some strong noise reduction artifacts at the low ISO sensitivities in the shadows), but it's only when you reach ISO 800 and higher that the print quality starts to degrade.

Camera locks up for a few seconds while recording 10fps bursts, as
images are stored

As we felt with its predecessor, the Sony HX200V, we think the Sony HX300's strengths far outweigh its limitations, making this all-in-one superzoom a solid option for
anyone who wants a camera to do a little bit of everything. The HX300's 50x
optical zoom lens is a huge upgrade and an incredible tool, offering 24-1,200mm equivalent coverage. It's extremely versatile, allowing users to photograph a wide range of subjects, from close-ups of people
riding a faraway zip-line to wide-angle shots of cityscapes. The HX300 handled
these photo tasks smoothly and efficiently. Unless you're willing to pay tens of thousands of dollars for DSLR lenses, there are few alternatives that can do what the Sony HX300 can do, especially for such a relatively low pricetag.

About those limitations: Though the added
resolution from the HX300's 20.3-megapixel CMOS sensor gives you a lot of digital
image info to work with, the chip itself is the same size that you'd
find in many point-and-shoot cameras. Time and again, when we looked closely at
shots we captured with HX300's 1/2.3-inch sensor, details looked fuzzy and soft.
This was particularly true of higher ISO images, which demonstrated considerable noise. Feature-wise, Sony has also removed a few functions with this camera that were available on the
previous model, such as built-in GPS and the electronic viewfinder's eye-detect function. And we were a bit disappointed that the 3-inch, fold-out LCD screen and small EVF weren't upgraded from the previous model.

Having said all that, we still found the Sony HX300 a ton of fun to use; it even helped our reviewer capture some of his favorite images of
the year -- some he couldn't have captured with many other cameras. The bottom line is that you just can't beat the versatility of a 50x zoom lens in a camera that's
small enough to take with you everywhere. While its about the size of a small
DSLR -- and slightly bigger and heavier than the previous model -- the Sony
HX300 felt very comfortable in the hand, and light enough that it never
weighed us down. The HX300's HD video mode is also nice and handy, letting us
shoot high-quality clips in good light with just the touch of a well-placed
button on back of the camera.

While there are some
definite trade-offs with a superzoom camera, the power of the HX300's incredible 50x
reach plus a host of solid features earns it a nod from us as a solid Dave's Pick.